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Music and film go together like Batman and growling. The emotion in the drama is boosted by sympathetic treatment from the soundtrack, so that when an upsetting situation meets the right musical accompaniment, it will provoke a mass outbreak of sniffles. BBC film critic Mark Kermode (a self-confessed cinema sobber) knows this too well, and it's a cornerstone of his new Radio 2 series Celluloid Jukebox.

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This is a collection of songs and soundtrack moments that have transformed sad situations into tiny tragedies, or loaded happy events with significance until they become overwhelming. This can be because a perfectly apposite and familiar tune has arrived at precisely the right moment, because a musical visionary like John Williams has created something especially heartbreaking, or even because a really big movie about a historical calamity needs a really big tie-in hit single to help promote it.

The gulf between stage musicals and films can be an awkward one to leap over for audiences. Every note has to ring perfectly true to the plot, or the entire edifice collapses in a puff of cringe, and that's the kind of intense scrutiny most non-singing films would struggle with too. Les Misérables closed the gap a little by effectively shooting a stage musical as if it was a real film, and insisting on live performances from its leads, as Anne Hathaway explains in this clip.

It also helps that the story is entirely unfanciful and rooted in the very real horrors of 19th century France, and that the songs pull no punches either. I Dreamed A Dream is a song of despair, a moment of taking stock in which Fantine ruefully examines her youthful ideals against the harsh reality of her life, and rather wishes she hadn't.

As composer Neil Brand explains in this clip, melancholy is a tricky emotion to introduce in a children's film, especially one that will go on to make up preposterous words (Supercalifragilisticexpialidocious) and show the cast dancing with cartoon penguins. And yet Disney proved themselves to be masters of the art, from Dumbo's utterly devastating Baby Mine (the song Dumbo's mother sings to him from her prison wagon) to Frozen's Do You Want to Build a Snowman? The soundtrack to Mary Poppins is riddled with sniffly moments, including the mournful Chim Chim Cher-Ee, but it's Feed The Birds that has the power to root fidgety audiences to their seats.

Mark Kermode is equally unequivocal in his praise of this song in particular: 'I own a very battered copy of the soundtrack which was given to me as a Christmas present many decades ago.. [Feed The Birds is] a timeless composition by the Sherman brothers which remains a masterclass in screen song-writing.'

Sometimes you don't need the context of a story to get the full picture from a film soundtrack. John Williams' theme from Schindler's List carries all the grand tragedy of the film's horrific subject matter - the Holocaust - in its melody. It's a tune that, with its searing violin, invokes the grand melancholy of Eastern European folk music and Jewish traditional music too, but played with enormous weight, as if this is the only conceivable way of expressing a huge and crushing hurt.

It's the kind of melody that would evoke that feeling even if the film had never been made. Although its appearance at the very end, played modestly on piano while the camera tracks across a path made from Jewish headstones, gives the audience a chance to exhale, and breathe the gloom out slowly.

• Slipping Through My Fingers (feat. Amanda Seyfried)

ABBA can rightly lay claim to having produced some of the most devastating songs in pop, from Knowing Me, Knowing You to The Winner Takes it All, and a good many of them are featured heavily in Mamma Mia!, the jukebox musical that became a movie. However, it's Slipping Through My Fingers, a lesser-known meditation on the dying days of motherhood from their 1981 album The Visitors, that carries the greatest emotional wallop in the film.

This may be because their other megaballads are so deeply embedded in the public consciousness that they've picked up their own context (not least from a million karaoke bars), so it's more jarring when the cast launch into, say, SOS. But it's also a credit to Meryl Streep's yearning performance as Donna, a mother watching her daughter prepare for married life.

Should there be any doubt that the story of Titanic is not the story of the sinking of the Titanic, My Heart Will Go On is there in the end credits (and at No.1 all over the world) to underline the point. Titanic is the story of two people from different backgrounds who meet and fall in love across a vigourously-defended class divide, and then are separated by a historical event. Their story takes precedence over anything to do with boats and icebergs, and, as such, their theme song is about love as a ghostly presence that endures when all else withers.

Céline Dion sings the song first as a lament, and then more robustly, as a reassurance that those feelings of loss and hurt are somehow reciprocated, and that's a very potent idea for anyone suffering a bereavement, or even a nasty breakup. As such, all of the emotions stirred up by the story in the movie - which has been heightened by the dramatic events around it - are condensed into a perfect bullet of song, ready to be relived at a moment's notice.

As explained in this clip, See You Again is a song with ramifications that exist as strongly inside and outside of the reality of the film. See You Again was commissioned specifically as a tribute song to the late Paul Walker, star of the Fast and Furious series, who died in a car accident in 2013, while Furious 7 was in production. The song captures the shock and grief of his loss, with Charlie Puth's chorus channelling his feelings about a friend who had also been killed in a motoring accident.

The immediacy of his emotions, together with Wiz Khalifa's philosophical verses on family and loss, not only fit the themes in the film - it plays as the characters Brian O'Conner and Dominic Toretto drive off in different directions, having said their goodbyes - but the mood of the production crew and the audience watching. And you wouldn't need to know any of this to understand this as a song trying to make sense of a sudden and devastating loss.

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Some music has such a vivid effect on the imagination it can be used to devastating effect in films, TV shows and computer games and come away clean and fresh, ready for reuse time and again. Samuel Barber's 1936 Adagio for Strings has that quality, being a stark moment of frozen time - pitched somewhere between an elegy and a lengthy musical gasp of horror - that has been used at climactic moments in both The Elephant Man and Platoon.

8. God Only Knows, from Love and Mercy

Music is so often an unacknowledged accompaniment to the drama in a film, it can be jarring when it is used decisively in the plot. Love and Mercy, the recent split biopic of Beach Boys songwriter Brian Wilson (as reviewed above by Mark Kermode), shows his songs in the moment of creation. In one particularly upsetting moment, Brian (played in his 1960s creative peak by Paul Dano) sits at a piano to play his domineering father Murry the song God Only Knows.

It's a lovely rendition, full of pauses as the composer feels his way through the melody that we, as the audience, know as one of the most beautiful musical creations there has ever been, but Murry - who fancies himself as a songwriter, producer and all-round musical expert - is aggressive, nitpicky and short-tempered. He belittles the song, upsetting sensitive Brian, who is teetering on the edge of a breakdown, and forcing an argument that entirely shatters the delicate, healing mood created by his music.

In Neil Brand's BBC Four series Sound of Cinema: The Music that Made the Movies, he visited Vangelis in his studio, to discuss the creation of the Chariots of Fire theme. It turns out to have been a piece of music that there was no need to create. The Director had already picked something he liked, Vangelis was perfectly busy working on other aspects of the soundtrack, and yet, watching the opening sequence in which a group of young men run along a beach in slow motion, he felt there was something missing.

What he went on to create is a bittersweet suite, a stately dance for the runners in which their immaculate youth is captured in amber forever, to be filed neatly alongside their giddy hopes and the joy of their early morning run. Put that in front of a slightly weary audience, feeling their age and infirmities as time goes by, and you can guarantee a few moistened eyes before the film has even got properly started.

There's a key moment in this interview with Randy Newman (composer of the soundtracks for all three Toy Story movies, plus Monsters Inc. and A Bug's Life), in which he describes the art of writing a good score, 'You kind of know what it is; it's fast, it's slow, Woody falls out of a tree and you fall down with him; birds go up and you send a couple of flutes up', and that's precisely what he does with the song When She Loved Me.

The only difference is that he's telling the most heartbreaking story in the world in just a couple of short verses: girl meets toy, girl loves toy, girl grows up, toy is left out for recycling. And rather than send a couple of flutes up, he gets Sarah McLachlan in to sing the eternal ache of being abandoned with such brutal efficiency it left a generation of children looking to their parents and asking: 'Mummy, why are you sad?'

Did you know that you can download TV shows from Netflix onto your laptop or phone, so you can watch your favorite shows even when you don't have an internet connection? Well, better late than never, buddy! Not only does the streaming service rotate its offerings every month, it's constantly looking for ways to deliver the movies and TV shows you want, wherever you are.

You'll need to download the Netflix app (iTunes and Android), and once you start browsing, you'll see a downward-pointing arrow for titles you can download (unfortunately, not everything is downloadable.. yet). To get you started, we picked our favorite downloadable TV shows, but if you can't find something you like, your best bet is to check out the complete list of the best shows on Netflix. Never buffer again!

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3% (2016- )

If you relish the dystopian drama of The 100, The Hunger Games, or other narratives about attractive people living under unattractive regimes, then this Brazilian Netflix Original is for you. The hook of 3% is simple: The world is divided between a world of wealth called the Offshore and a world of poverty called the Inland. (Sounds familiar, right?) The Elysium-like premise is explored with real emotional depth, and director César Charlone, the cinematographer responsible for City of God's stunning visuals, shoots everything with a gritty glow.

The 4400 (2004-2007)

Produced by The Godfather director Francis Ford Coppola, this underrated sci-fi series imagines what would happen if 4,400 people suddenly vanished from the face of the planet in the early 20th century.. then flashed back into reality decades later. The mystery unfolds through the eyes of some superlative performances, including Oscar-winner Mahershala Ali as a US Air Force pilot who disappeared but somehow has a daughter in the present.

Altered Carbon (2018- )

Adapted from the 2002 Richard K. Morgan novel of the same name, Altered Carbon is a flashy, jargon-y, and, at times, dizzying descent into sci-fi decadence. The show follows a 22nd-century mercenary (Joel Kinnaman) who's hired to solve the murder of a highly influential aristocrat. The catch? Said aristocrat is still alive, because in this version of the future, the wealthy can't really die -- instead, their consciousness is essentially uploaded to the cloud and downloaded into new bodies. In a world without death, the ensuing caper boasts the same jaw-dropping visuals and world-building as Blade Runner and the same thought-provoking intrigue as HBO's Westworld. And over the course of 10 episodes, what looks like a complicated murder mystery detours as a complicated love story and a complicated look at social stratification. In other words, showrunner Laeta Kalogridis packs A LOT to digest in here, but that means there's A LOT to appreciate if you're patient. Though it takes a few episodes for Altered Carbon's dense story to really take off, it's an ambitious ride that's well worth sticking around for. In fact, we can't wait to see more.

American Horror Story (2011- )

Why do people love Ryan Murphy shows so much? Because they're infused with equal parts camp, drama, suspense, and humor -- even this ostensibly scary one. Whether you're watching the Murder House, Freak Show, Hotel, Roanoke, or the 2016 election-inspired Cult installment, you're in for unforgettable characters, stomach-curdling gore, jaw-dropping plot twists, and brutal finales.

American Vandal (2017- )

American Vandal, about teen documentarians who investigate the innocence of a classmate accused of vandalism (Jimmy Tatro), is much more than a four-hour dick joke. After the first couple episodes, the phallic material fades into the background, allowing the show to satirize high school and today's criminal justice system in a meaningful way. To pull it off, the co-creators studied the techniques that made them so invested in such true-crime titans as Serial, Making a Murderer, and The Jinx. It's parody, homage, addictive teen drama all wrapped in one -- an underrated win for the streaming service.

Being Mary Jane (2013- )

Mara Brock Akil's rom-dram stars the ageless Gabrielle Union as a single 30-something TV news anchor trying to juggle her intense professional ambitions with her needy family and a steamy sex life. Mary Jane embraces its contradictions: it's soapy as all get-out, with nonsensical plotlines involving the acquisition of an ex-lover's sperm, while still confronting race and gender issues head-on.

Better Call Saul (2015- )

It wasn't all that long ago that Bob Odenkirk, long a comedy icon, was stealing scenes in AMC's Breaking Bad. Now, he's signed on to appear in Steven Spielberg's new film and carries the Breaking Bad prequel as its star. With the (re)introduction of ice-cold supervillain Gus Fring, this slow show shows no signs of slowing down.

BoJack Horseman (2014- )

Netflix's animated series goes all in on the depression, failure, and slovenly behavior of its titular star, who's always on the verge of a comeback that never actually happens, at least not the way BoJack thinks it will. With plenty of gags to lighten the mood between the morose moments, BoJack Horseman asks us to laugh -- and we do, because we can't imagine this beleaguered equine's life getting any worse, which, invariably, it does.

Breaking Bad (2008-2013)

Despite originally airing on AMC, Breaking Bad is the ultimate Netflix show. Filled with moments of shocking violence and wry humor, the rise and fall of Walter White (Bryan Cranston) -- and his co-conspirators Jesse, Skyler, Gus, and Mike -- is probably best experienced in wild, indulgent weekend binges. That's what many fans did throughout the show's five-season run, catching up on old episodes on Netflix to prepare for the must-see moments that occurred during its final stretch. With the acclaimed spinoff Better Call Saul now inspiring similar conversations, there's never been a better time to take the dive. You don't just watch this show; it consumes you.

Cheers (1982-1993)

For the days when you want to hang out at the bar without changing out of pajamas. Starring Ted Danson as the ex-Red Soxxer and reformed alcoholic slinging drinks, Cheers, too, had a very long run -- 271 episodes! -- so you'll invest a ton of time if you're a completist, but luckily, you'll feel like a regular in no time.

Chef's Table (2015- )

With an explosion of food television comes elevated standards; Netflix's Chef's Table forages for those standards, brings them to the restaurant for dinner service, treats them with respect, turns them into a whimsical play on a dish remembered from childhood, and earns a couple Michelin stars and the admiration of its peers in the process. The point is that Chef's Table, from creator David Gelb (Jiro Dreams of Sushi), is an exceptional food show that manages to make humans the centerpiece.

Comedians in Cars Getting Coffee (2012- )

Jerry Seinfeld has a shitload of expensive cars lying around, so he decided to film himself giving other funny people rides in them. It's pretty entertaining! And after a run as Crackle's only viable original program, Seinfeld took his talents to the king of the streaming game (for now).

Crazy Ex-Girlfriend (2015- )

Many armchair critics tried to dismiss former YouTube sensation Rachel Bloom's CW series for what they presumed to be a sexist title -- a notion she bites back at from the opening credits on. In fact, the series is quietly revolutionary, offering sharp yet subtle commentary about the way women treat each other and themselves, and casually featuring one of the most diverse casts on TV. CXG draws its rom-com antics from heroine Rebecca's compulsive behavior and past traumas, all while satirizing the conventions of musicals with song-and-dance numbers worthy of Sondheim. It's a downward spiral, for sure, but psychosis has never been this entertaining.

Dear White People (2017- )

Justin Simien's scorching send-up of post-racial America received the green light from Netflix for 10 30-minute episodes, with Logan Browning stepping in for Tessa Thompson. As in the movie, the streaming version follows a diverse group of students pushing back against discrimination at a mostly white Ivy League school. Contrary to what the trolls want you to believe, Simien's work is not white-genocide propaganda; it's an illuminating look at what equality means in the 21st century. As he's explained already, 'I'm a storyteller. My job isn't to protect your feelings. It's to show you who you are. Sometimes that will be joyful. Sometimes it'll hurt.'

The End of the F***ing World (2017- )

Somehow, a show about a teenager who's convinced he's a psychopath and wants to find his first human kill manages to come off as a charming love and coming-of-age story. The tone demands a lot of the audience: Can you empathize with the human struggle of a kid who wants to kill, kill, kill? It's a compelling premise that tackles the question with necessary nuance.

Fauda (2015- )

Fauda, an action thriller about an elite team of undercover Israeli commandos working in Palestine, is perhaps the best of Netflix's recent foreign-language shows, a frantically paced and politically charged melodrama filled with sequences of white-knuckle suspense straight out of Homeland or 24. But unlike those spy dramas, Fauda spends nearly as much time on the private lives of Palestinians as it does on its gun-toting heroes. It's got a moral complexity that its more simplistic American counterparts often lack.

Freaks and Geeks (1999-2000)

Like its awkwardly dressed and perpetually yearning protagonists, Paul Feig and Judd Apatow's ode to the pain of adolescence was destined to be an outcast from the start. Its presciently selected cast -- including Seth Rogen, Jason Segel, James Franco, John Francis Daley, and Martin Starr -- anchored a show that was perhaps too prickly and personal to catch on with NBC's mainstream audience, but it lives forever on Netflix. So, like Starr's achingly joyful Bill Haverchuck watching Garry Shandling after school, make yourself a grilled cheese, grab a glass of milk, and get ready to find some pockets of transcendence amidst the misery.

Frontier (2016 - )

A showcase for the charismatic brutality only Jason Momoa can muster, Frontier is a rollicking Netflix and Discovery Channel Canada co-production about the (literally) cutthroat 18th-century North American fur trade. The adventure series has more in common with breezy syndicated fare like Hercules: The Legendary Journeys than it does with Momoa's star-making Game of Thrones, but if you squint hard enough at the right moment you'll swear that it's Khal Drogo himself cutting off that poor sap's ear.

GLOW (2017- )

It's odd that it took so long for someone to make a fun comedy about professional wrestling. Where Darren Aronofsky's The Wrestler turned the plight of a washed-up grappler into a Sisyphean struggle in spandex, GLOW, which was inspired by a real-life wrestling women's wrestling promotion from the '80s, takes a sunnier but still no-holds-barred approach. Community's Alison Brie excels as an actress who gets cast by a washed-up filmmaker (Marc Maron) to play the villain in the rag-tag operation, but, like producer Jenji Kohan's Orange Is the New Black, it's the side characters, like Britney Young's second-generation brawler Machu Picchu, who really help this show get over. It's one of the few pieces of pop culture that actually captures this 'fake' sport's very real appeal.

The Good Place (2016- )

Created by Parks and Rec mastermind Michael Schur, this whimsical comedy sends the World's Most Selfish Woman, Eleanor Shellstrop (Kristen Bell), to the afterlife. More specifically: the titular Good Place, something like heaven minus all the religious stuff. Things go swimmingly until Eleanor realizes she's been mistaken for someone else -- a glitch in the system that sends the utopia into a downward spiral. It's tons of fun seeing Bell and her onscreen soulmate Chidi (William Jackson Harper) try to fool everyone into believing this Eleanor can be a good person and deserves to stay. As we noted last year, 'By the time you get to the incredible season finale, it's clear you've been sent straight up to TV heaven.' Or, as Eleanor herself might put it: This show is forkin' good!

Grace and Frankie (2015- )

Netflix users of a certain age have likely overlooked this dramedy from Marta Kauffman (Friends) and Howard J. Morris (The Starter Wife), about two septuagenarian friends (Jane Fonda and Lily Tomlin) who shack up together after their husbands (Martin Sheen and Sam Waterston) announce they're in love and intend to marry. With notes of The Odd Couple and The Brady Bunch -- both couples have grown kids as equally knocked out by the news -- Grace and Frankie is down-to-earth viewing that's rich with observational wit on the progressive notion of being true to one's identity, and the time-worn cliche that everyone gets older with age. If you've indulged in the low-key, picture-perfect comedies of Nancy Meyers (It's Complicated, Something's Gotta Give), give this one a try.

Happy Valley (2014- )

A police sergeant (Sarah Lancashire) is investigating the kidnapping of a local businessman's daughter by conspiring West Yorkshire locals; one of them is connected to the rape of her own daughter, who committed suicide eight years earlier. Tension builds at crime scenes and in familial moments, as Catherine swallows her suffering to parent her daughter's illegitimate son. The series leaves room for flawed characters to make mistakes: Catherine isn't Sherlock Holmes, nor are her culprits Moriarty types. On this show, murders happen by accident -- which is even scarier than premeditation.

Lady Dynamite (2016-2017)

Maria Bamford's semi-autobiographical, surreal spin on mental illness in Hollywood was a summer sleeper hit for Netflix. The comedian's self-aware hijinks share obvious DNA with Arrested Development: Mitch Hurwitz and Pam Brady are executive producers; there are sight gags, wordplay, and mockery of Los Angeles idiocy galore; and it features countless comedy-world cameos, extended fantasy sequences, and genuine self-introspection. It'll take you a few episodes to get invested, or even to wrap your head around WTF you're watching. But once you're hooked, you're hooked.

Law & Order: SVU (1999- )

Law and Order: SVU was designed for bingeing YEARS before on-demand streaming was invented, and while the original Law & Order was canceled in 2010, Special Victims Unit perfected the form and chugs along into its 18th season. Now that streaming is standard, you don't have to surf cable for a late-night insomnia salve or a hungover Sunday time-killer. You can drop in on Detectives Elliot Stabler and Olivia Benson whenever you desire the simple satisfaction of fighting for justice in an unjust world.

Luther (2010-2016)

Idris Elba looks really good in a suit. There are plenty of reasons to watch Luther, but The Wire actor's calming sartorial presence has to be what draws most fans into this psychologically rich British detective drama. The Affair's Ruth Wilson also impresses as Alice Morgan, a manipulative murderer who becomes an obsession for Elba's weary cop John Luther. It's a cat-and-mouse game worthy of Hannibal Lecter and Clarice Starling. Plus, the whole Idris Elba-in-suits thing.

Mad Men (2007-2015)

Matthew Weiner knew where it was all going from the start -- and the AMC show's creator even warned us in the third-season premiere, via a Don Draper line to Roger Sterling: 'I keep going to a lot of places and ending up somewhere I've already been.'

The series spans many eras as we travel throughout time: the 1960s change the people around Don, and the second half of the final season, set in 1970, is momentous. Betty confronts her own mortality. Peggy discovers that true independence isn't as clean-cut as she thinks. Pete breaks his life in two so that he can put it back together again.

And then there's Don Draper: well-meaning, self-destructive, creative genius Don Draper, who dreams big and falls hard over and over and over again. Mad Men asserted itself as the Great American Television Show by being hyper-specific -- designed down to the desk stapler -- and universally opaque. We’ll never stop talking about the ending, the beginning, and everything in between, so you'd better hurry up and get on our level if you're not already.

Making a Murderer (2015)

What begins like a standard-issue Dateline episode about Steven Avery, a rural Wisconsin ne'er-do-well wrongfully convicted of rape, turns, over the course of its 10 episodes, into a sharp, twin rebuke of unchecked law enforcement and the entire criminal justice system.

As the documentary team behind this essential Netflix binge, which rivals The Staircase and Serial season one in its capacity to inspire righteous anger and rabbit-hole quests for the truth, details without exceeding skill, justice for Avery and his nephew, tragically swept up in the deplorable affair, has most definitely not been served. This one is the bleakest on the list, so we advise you spread out your binge as much as possible.

Manhunt: Unabomber (2017)

This eight-episode miniseries (which may or may not spawn follow-up series -- we'll see!) plays loose with the facts of the FBI Unabomber investigation and it won't teach you how to remember to spell Ted Kaczynski. But sometimes you just can't stop yourself from bingeing a nicely paced true-crime dramatization with unlikely actors in the crucial roles, like we have here with Avatar's Sam Worthington (as a dogged FBI agent who uses linguistics to track down the Unabomber), Avengers: Age of Ultron's Paul Bettany (as the hermetic, manifesto-writing mad bomber), and Party Down's Jane Lynch (as Janet Reno!).

Mindhunter (2017- )

David Fincher loves serial killers. The director of Seven, Zodiac, and The Girl With the Dragon Tattoo launched Netflix into the world of original television when he applied his dark, brooding aesthetic to a different kind of sociopath: obscenely ambitious politician Francis Underwood, focal point of House of Cards. But where House of Cards feels a bit like a desperate child crying out for attention -- 'Look at me!' -- Mindhunter arrives fully mature, concerned more with exploring the depths of headlines already written than creating new ones. The show follows a young, self-assured FBI agent, Holden Ford (Jonathan Groff); his mentor, Bill Tench (Holt McCallany); and psychologist-turned-consultant Dr. Wendy Carr (Anna Torv) as they establish a division of the Bureau tasked with solving a 'new kind of crime' that lacks what most law enforcers think of as rational motives. In short, they're inventing what will become the famous 'FBI profiler' department, responsible for ferreting out criminal sociopaths, but Mindhunter's success arises from its ability to generate what serial killers lack: empathy and nuance. You feel not only for the agents and their decidedly second-priority romantic partners, but also for the killers, some of whom possess knife-edge intelligence and a caustic self-awareness, while others inspire near-instant revulsion. Add in the time-tested conventions of true crime mysteries, plus a steadfast unwillingness to write another FBI hagiography, and Mindhunter is highly bingeable, yet offers a depth that rewards slow-burn viewing.

Mystery Science Theater 3000: The Return (2017- )

Could a new crew of comedians revive the effortless magic of public-acess-born Mystery Science Theater 3000. Absolutely. With the nerdy Jonah Ray (The Meltdownwith Jonah and Kumail) locked in the new spaceship, once again backed by Crow and Tom Servo (but with new voices, Hampton Yount and Baron Vaughn), spearheaded by former Daily Show head writer Elliot Kalan, and produced by original host Joel Hodgson, the new incarnation pelts jokes at late-night schlock and half-assed blockbusters with relentless force. There's a musicality to the jokes in MST3K: The Return, punctuating every bit of dead air in the god forsaken movie choices, and everyone is at the top of their game. 'Cry Wilderness,' about a little kid who pals around with Bigfoot, stands up to any of the classic episodes.

Narcos (2015- )

This thriller is a treat for history buffs, unpacking the horrifying, drug-laden history of Colombia during the reign of legendary kingpin Pablo Escobar. As Escobar, Wagner Moura is both terrifying and captivating, and his opposition, two DEA agents fighting their way through a convoluted mystery, give a scarily real sense of the American efforts to end the war on drugs. Moura is SO convincing that I'd probably spit on him if I ran into him on the street on behalf of the Colombian people -- he's that good at being bad. Narcos' mix of archival footage and contemporary fictionalization keeps you engaged, and reminds you that a literal genocide had to happen just so yuppies could blow coke in the Hamptons during the '80s (only kind of kidding).

Nobel (2016- )

Amid the Homelands and Zero Dark Thirtys of the world, it's easy to forget that the United States' decades-long global war on terror is just that: global. The coalition of nations that fought with America in Afghanistan included Norway, and it's in a foreign camp that the show begins with a tense military operation to take out a suspected suicide bomber. Make no mistake, though: This is not a war series, but a political one, focusing on the treacherous ripples terrorism sets off through national politics. In this case, the political implications are told through the lives Erling Riiser (Aksel Hennie), who served in Afghanistan, and his wife, Johanne (Tuva Novotny), a government worker who must navigate the business interests related to Norway's involvement in the region.

The OA (2016- )

If Stranger Things was a little too basic for you, give this wonky sci-fi series from co-creators Brit Marling and Zal Batmanglij a shot. The otherworldly Marling stars as Prairie, a blind woman who returns to society after years in captivity and quickly starts a youth group with some troubled teens. It gets crazier from there. Yes, there's interpretive dance. Yes, there are weird flashbacks to Russia. Yes, it will leave you scratching your head and searching the internet for clues. But sometimes the crazy shows are the ones you love the most.

The Office (2005-2013)

Go ahead and try to prevent your brain from firing off loads of oxytocin as soon as those opening piano notes hit your eardrums. As scenes from Scranton and the Dunder Mifflin office play across the screen, you'll find it difficult to resist falling into a wormhole of nostalgia, knowing all along that (SPOILER) Jim and Pam get together in the end. If you're watching for the first time, you'll understand why so many people fell for Michael Scott and the soft-bellied, straight-faced humor that reinvented network television.

One Day at a Time (2016- )

Like The Ranch, its red state cousin, One Day at a Time is a throwback family sitcom in a world that can be unkind to audience laughter, big comedic performances, and that stage-bound multi-camera look. But single-camera purists should get over their hang-ups. This clever remake of Norman Lear's '70s hit about a single mother raising two teenage daughters is more charming and funny than many of its seemingly 'edgier' peers. Anchored by a lived-in performance from Justina Machado (Six Feet Under), the show finds familiar laughs in the way generations clash and families wage war, but it's also culturally specific, socially engaged, and leisurely paced in a way that makes it stand out from your average CBS family show -- or Netflix's own dire Fuller House.

Orange Is the New Black (2013- )

The scripted original that put Netflix on the map (sorry, House of Cards!), Orange is a comedy that will make you cry or a drama that will make your sides split, depending on how you want to categorize it. Featuring one of TV's best ensembles made up largely of unknown actresses, Jenji Kohan’s show about life in a women’s prison is full of fascinating, nuanced characters from all walks of life, who elicit empathy even as they make difficult -- sometimes morally reprehensible -- choices in order to get by.

Ozark (2017- )

It's easy to see why early critics compared Ozark to Breaking Bad: Drug money and morally gray characters abound in both. But as Marty Byrde -- a brilliant Chicago-based financial advisor who moves his family to Missouri's Ozarks on a life-or-death deadline to wash truck loads of cash for Mexico's second biggest drug cartel -- Jason Bateman never goes full Heisenberg. In fact, his character's main motivation for doing anything is to protect his family. Along with Bateman, Laura Linney (Marty's wife), Jason Butler Harner (an undercover fed), and Julia Garner (one sketchy family's substitute don) deliver particularly memorable turns to help make this slow-burn work wonders over its tense 10-plus hour runtime. The Byrde saga might not yet be as good as its spiritual forefather, but it's better than a lot of its cousins (even Bloodline!). It'd be a mistake to not give it a shot.

Parks and Recreation (2009-2015)

In the vein of workplace 'reality' comedies like The Office, creator Michael Schur's take on a local parks and rec department finds humor in the mundane -- like bosses who take themselves way too seriously. Watching this show now is like being treated to a buffet of comedic royalty; there's Amy Poelher! Adam Scott! Donald Glover! Aubrey Plaza! Aziz Ansari! And more! Their performances cemented Parks and Rec's place in network comedy lore.

Peaky Blinders (2013- )

Cillian Murphy stars in this early-20th-century period drama as Thomas Shelby, a World War I vet-turned-patriarchal crime boss who wants to up his family's social and financial status in England. The Shelbys' story plays out as historical fiction, loosely inspired by the exploits of real-life gangs based in Birmingham around the late 1800s and early 1900s. Rivaling bands of thugs clash for underworld influence here in a way that is not unlike on Game of Thrones just on a less fantastical scale: high-stakes political power plays, shady back-room dealings, and gritty tussles abound, with enough blood to rival the Red Wedding. (The show's name comes from the razor blades stitched in the Shelbys' flat caps, after all.) And if you still miss GoT, take comfort in appearances from Locke (Noah Taylor), Doran Martell (Alexander Siddig), and the Night King (Richard Brake).

Riverdale (2017- )

A modern CW take on the yuk-yuk teen comic Archie may sound like a shot of arsenic to prestige TV binge-watchers, but with a murder mystery undercurrent, soap drama worthy of The O.C., and a sheen that looks like Twin Peaks by way of 300, Riverdale rises above everything you think you should be watching. Each young actor on the show is a discovery (OK, maybe not Arch himself, but this is why the comics always emphasized '& Friends') and the fully packed episodes earn all the twists and turns. Watch Riverdale and you'll be sifting through grocery store comic shelves in a week.

Robotech (1985)

This is the godfather of anime television in the United States. Robotech -- released as an American adaptation of three unrelated sci-fi robot series -- first introduced American audiences to classic space opera anime tropes. Newcomers should expect awkwardly dubbed accents, silly musical numbers, a sweeping orchestral score, and cosmic battles over some Cold War analogue called 'Protoculture.' The mixture is potent drama; as Seth Green recently declared: '[Robottech] took its material so seriously and had such gravity….I still remember when [redacted for spoilers] got killed and came home to his girlfriend because he had such vicious internal bleeding, and she was so excited to see him, horrified that he might not have made it through the battle. And then he died in her arms on the couch.' Oh, right. It also has transforming robots.

She's Gotta Have It (2017- )

Nola Darling is an artist, an activist, a Brooklynite, and a sex-positive polyamorous pansexual with three emotionally volatile boyfriends. But who is she? Spike Lee made his directorial debut with 1986's She's Gotta Have It, and 30 years later, expands the character study (with the help of a writer's room including his sister Joie Lee, and Pulitzer Prize-winning playwright Lynn Nottage) into his first TV series, a rhythmic exploration of sex, Brooklyn, and black life. Lee's signature, syncopated style -- bright colors, up-close-and-personal confessionals, jolts of pop music and album art, Bruce Hornsby's melancholy piano filling the gaps -- is intact, tracking Nola through the gentrifying brownstone labyrinth of Fort Greene like an epistolary novel. The joy of the series is in the updated casting, DeWanda Wise's Nola beams with wisdom, fear, artistic knowledge, and carnal desire, while the men and women in her life are fleshed out and… fleshed out, allowing the many sex scenes to play to the senses while reaching for something deeper.

Star Trek: The Next Generation (1987-1994)

After a string of The Original Series-inspired movies and miscalculations on how to revive the sci-fi franchise for television, Gene Roddenberry's Star Trek boldly went where no concept had gone before with The Next Generation, a shinier, headier, all-around better (yeah, we said it) saga in the United Federation of Planets' history. Led by Patrick Stewart and helped by an iconic supporting cast, The Next Generation followed the TOS mission to speculate about and empathize with social issues of the day, filtered through a lens of A-grade sci-fi writing that stands the test of time.

Stranger Things (2016- )

If you haven't binged Netflix's '80s paranormal throwback.. what gives? It's all your friends talked about last summer, and the second season, due in October, looks bonkers. Sony vegas pro 13 free trial. If you've already done your time in the Upside Down, bide your time with the time-jumping Travelers, the alien-invasion saga Colony, the goofy fantasy series Shannara, and the one-season mind-bender Awake.

The Twilight Zone (1959-1964)

Every lauded sci-fi movie or television show owes Rod Serling residuals. Over 156 episodes, Serling speculated and dreamed, refracting his present day through the trippiest scenarios to ever beam through mild-mannered American homes. The Twilight Zone’s visual prose took us to jungles, to space, to 20,000 feet, and to the sunny block from every person’s childhood, where the worst existential revelations tended to lurk. The Twilight Zone still speaks volumes. Buckle up and fly into a dimension not only of sight and sound, but of mind.

Twin Peaks (1990-1991)

David Lynch and Mark Frost's detective series is often credited with instilling television with artful potential. Without Twin Peaks, there'd likely be no Mad Men or Breaking Bad, (and both shows nodded to the ABC series). And yet, the show's dreamy, saturated look is really a cherry on top. Twin Peaks is a steady stream of oddball characters and fantastical twists, encountered by FBI Special Agent Dale Cooper (Kyle MacLachlan) as he hunts for the murder of a small town teenager. Your weird friends love this show. You should, too. It's finally time to understand those Log Lady Halloween costumes.

Unbreakable Kimmy Schmidt (2015- )

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Tina Fey and 30 Rock producer Robert Carlock’s comedy tracks the adventures of an Indiana naïf after she is freed from being held captive by a doomsday cult leader for 15 years -- what a premise! Ellie Kemper plays the freed kidnapping victim, who heads to the Big Apple without a clue on how to exist in the modern world. Luckily, Titus, a penny-pinching, Broadway-belting man in desperate need of a roommate, takes her in and trains her in the art of living. Kimmy Schmidt clings to 30 Rock’s goofy sense of humor and drops the cynicism. Beware: it’ll take three binges just to catch all the jokes.

The Vampire Diaries (2009-2017)

Here's the pitch: not one, but two hot vampire brothers. While it premiered back in 2009 at the sparkly peak of Twilight mania, this supernatural teen soap has more in common with co-creator Kevin Williamson's witty '90s work -- Dawson's Creek and Scream -- than it does with Stephenie Meyer's po-faced novels. Based on a series of books by YA writer L. J. Smith, the show brings you into the inner life of a newly orphaned high-schooler named Elena (Nina Dobrev) who gets pursued by sultry, good vamp Stefan (Paul Wesley) and his equally sultry, evil bro Damon (Lost's Ian Somerhalder). There are love triangles, complicated mythology, crazy plot twists, and countless scenes where yokels get bit in the neck by pale guys with great hair. But it's the wry, almost Buffy-like comic tone that keeps you coming back.

Wet Hot American Summer: First Day of Camp/10 Years Later

Reboots and spinoffs often fall flat; not so with Netflix's prequel and sequel to the 2001 cult comedy classic Wet Hot American Summer. The strength of this series is its willingness to poke fun at the very nature of the repetitive, sequel-driven boom TV and movies are experiencing, with the same actors playing the characters they originally portrayed as though no time has passed in the decade-and-a-half since the movie appeared. A-listers Amy Poehler, Paul Rudd, and Elizabeth Banks give game performances that are bolstered by new faces like John Slattery and Jordan Peele. The show never makes you feel as though you're participating in a cynical nostalgia play (though, let's face it, you kind of are), and while 10 Years Later took a dip in quality, succumbing to the dopiness of its own premise, the steady laughs have us recommending both seasons.

Wynonna Earp (2016- )

Wynonna Earp is a faster, sexier, funnier show than it has any right to be. The pitch is simple: the great-great-granddaughter of legendary gunslinger Wyatt Earp must lead the charge against an army of zombies. A hero fighting the undead? A badass woman in charge? If you love action TV, this one's for you. Earp totes a gigantic, legendary magic pistol called Peacemaker. She has a bumbling, moronic Justin Bieber-lookalike as a sidekick/comic relief. There are several love triangles with the undead. One of those love triangles happens to involve Doc Holliday in the present. Perhaps the best summary of the show is this one-liner in its pilot: 'I am the girl. With the big-ass gun.' If you can't get on board, you may not like fun.

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